Gary Bartz hi Res

Chambers' latest release, Urban Groove, is about as good as it gets. An energizing set of standards and originals performed with the likes of Eric Reed, Gary Bartz, and Rufus Reid, Chambers is in top form, showing off his amazing technique not only on drums, but also vibes and marimba. Still, Chambers is careful not to pull too much attention away from his sidemen. Gary Bartz is electrifying throughout, and Eric Reed shines on piano.

To many jazz purists, the fusion of funk, soul, and jazz that evolved from the late '60s through the mid-'70s quickly shifted from interesting diversion to unabashed sacrilege. Watching the open-ended improvisation adventurousness of bebop, "the new thing," and free jazz give way to four-on-the-floor rhythms, simplified melodies, and–gasp!–verse-chorus-verse vocals was too much to bear for the self-proclaimed keepers of the flame.

"Live-Evil" is an album of both live and studio recordings by American jazz musician Miles Davis. This greatest masterpieces of all genres finally becomes SACD multichannel (quadraphonic) hybrid format reissue. Remastered in 2019. The 4ch mix of the front and rear is a sound source recorded in Quadraphonic, initially released in March 1973, and can be said to be a long-awaited revival release. The stereo mix that can be heard on SACD have been newly mastered from the analog master. Japanese original release.

Live-Evil is an album of both live and studio recordings by American jazz musician Miles Davis. Parts of the album featured music from Davis' concert at the Cellar Door in 1970, which producer Teo Macero subsequently edited and pieced together in the studio. They were performed as lengthy, dense jams in the jazz-rock style, while the studio recordings were renditions of Hermeto Pascoal compositions. The album was originally released on November 17, 1971.

More than the previous eight Jazz Is Dead releases Instrumentals JID009 delivers on Adrian and Ali’s original promise of showcasing the music made with their heroes, laying bare the inspired compositions created when different generations of musicians come together to collaborate in the studio. For nearly all of these songs, Adrian and Ali began with sketches and elements of songs that they developed alongside the featured musicians live in Adrian Younge’s Linear Labs studio located in the Highland Park neighborhood of Los Angeles.

As the final chapter in the initial run of Jazz Is Dead releases, Remixes JID010 continues the creative catharsis of an exhilarating new chapter in jazz music. Adrian Younge & Ali Shaheed Muhammad tapped nine iconic creators to reimagine their personal favorites from Jazz Is Dead’s catalogue to-date, who created striking new versions of songs by Marcos Valle, Roy Ayers, Gary Bartz, Azymuth, João Donato, Doug Carn, Brian Jackson and The Midnight Hour.

Let the sound of the night drums and the cry of the horns empower you! The cratediggers of Jazz Dispensary are proud to present a collection of jams propelled by the spirit of nature, protest, and freedom, featuring songs from pioneering musicians Joe Henderson, Gary Bartz, Ran Blake, Azar Lawrence, A.K. Salim, and The Dungills.

GRAMMY-nominated trumpeter, composer, producer, and artist THEO CROKER has announced a new album BLK2LIFE || A FUTURE PAST, his first since the critically acclaimed Star People Nation, the album that earned him the nomination. The album was produced by Theo Croker and features Wyclef Jean, Ari Lennox, Gary Bartz, Charlotte Dos Santos, Iman Omari, Malaya, and Kassa Overall.

The concept behind Jazz Is Dead 001 is to pair contemporary producers Adrian Younge and Ali Shaheed Muhammad with a series of revered jazz musicians, in a bid to create fresh tracks that employ the same original vintage recording equipment the ensemble cast used back in the ’60s and ’70s.

The post-bop opus Blackstone Legacy is the seminal debut album by trumpeter Woody Shaw. Originally released in 1971 on Contemporary Records, the groundbreaking album was inspired by the sociopolitical ills of the '60s. In their review, Allmusic called the album, "…a landmark recording, and a pivot point in the history of post-modern music".